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From: Ron on 7 Jun 2010 08:51 On 07/06/2010 13:10, mkm wrote: > On 6/6/2010 3:13 PM, Sean Conolly wrote: >> "Sean Conolly"<sjconolly_98(a)yaaho.com> wrote in message > >>> As a matter of fact, no I have never needed to do anything with an >>> expansion slot. Most of my experience is live sound in commercial venues >>> where you're lucky to have two hours to load in and setup, and there >>> haven't been many times where 16 channels and two monitor mixes were >>> enough to do the job. >> >> Eh, that was supposed to be 'weren't enough'. > > Last weeks gig we had to wait until after the dinner hour for staff to > move tables, load in thru the front door with customers outside smoking > and in the hallway waiting for tables. It was a sports bar and we were > told not to start until one second after the Flyers game ended. > > 16 channels is enough and we are still aiming for a 2nd monitor mix only > so the guitarists on opposite sides can hear each other. > > Steve McQ said: >> I would suggest you simply stick >> with your Mixwiz. Adding gates, comps, etc will only bog you down >> and make what should be quite simple too complex for your >> needs. >> . >>> > >> If you are dead set on upgrading to a digital board and want to pay >> a true experienced live sound professional to get you rolling with the >> thing, I might be able to hook you up with my brother, who is working >> in Lancaster full time. He works at the American Music Theater as >> chief sound tech. If you have seen any shows there this Spring then >> you have heard his work. He began working there in mid April. >> >> -- >> Steve McQ > > I thought that this board would make set up easier by allowing me to > return all settings to a selected scene. Faders are not motorized but > there is a procedure for easily setting them to the stored position. If you only use the desk for just the one band, there's nothing to stop you leaving an analogue desk at the end of the gig with the gain, eq, and aux settings as they were, just reduce the aux masters (to avoid any nasty surprises) Make minor tweaks at the next gig, the settings are already in the ballpark. This is how most touring companies who are still using analogue work - they don't reset the desk if tomorrow night is going to be the same as tonight. The learning curve on a digital desk is a very steep one. Many of us older guys never really get truly into our comfort zone with them especially if we're not using the same desk every night. What Arnie said is partly true, once the desk is set up, a monkey can run it, but getting it there is the tricky part. As for outboard gear, don't use it if it isn't needed. The Mixwiz is a fine little desk (I`ve just spent most of the weekend behind one) I would stick with what you know, at least for now. Ron(UK) ps I`m also in Lancaster, but the UK one
From: Sean Conolly on 7 Jun 2010 09:50 "Ron" <ron(a)lunevalleyaudio.com> wrote in message news:N-adnXXfgbvedpHRnZ2dnUVZ8hGdnZ2d(a)bt.com... > On 07/06/2010 13:10, mkm wrote: >> On 6/6/2010 3:13 PM, Sean Conolly wrote: > > As for outboard gear, don't use it if it isn't needed. Yes indeed. Typically I will only add compression on vocals (individually) and maybe acoustic guitar if the guy is a heavy picker (or 'chunker'). If any of the amplified instruments need compression, they need to have as part of their stage rig. Gates and comps on drums can make a real mess unless you know exactly what you're doing to dial them in - it's usually simpler to run a kick and an overhead with no processing. This is for small to mid-sized clubs, of course. When you start getting up to bigger venues the complexity increases, and so does the need for a dedicated pair of ears and hands out front. Sean
From: Ron on 7 Jun 2010 10:20
On 07/06/2010 14:50, Sean Conolly wrote: > "Ron"<ron(a)lunevalleyaudio.com> wrote in message > news:N-adnXXfgbvedpHRnZ2dnUVZ8hGdnZ2d(a)bt.com... >> On 07/06/2010 13:10, mkm wrote: >>> On 6/6/2010 3:13 PM, Sean Conolly wrote: >> >> As for outboard gear, don't use it if it isn't needed. > > Yes indeed. Typically I will only add compression on vocals (individually) > and maybe acoustic guitar if the guy is a heavy picker (or 'chunker'). If > any of the amplified instruments need compression, they need to have as part > of their stage rig. Gates and comps on drums can make a real mess unless you > know exactly what you're doing to dial them in - it's usually simpler to run > a kick and an overhead with no processing. > > This is for small to mid-sized clubs, of course. When you start getting up > to bigger venues the complexity increases, and so does the need for a > dedicated pair of ears and hands out front. > > Sean > > That`s my point, there's no use for processing if you can't hear the effects - which you can't from the stage. IMO, so much sound is ruined by inexperienced use of compressors and swampy reverb as it is by over amplified drums. The old adage 'keep it simple' more often than not turn out to be true. Ron(UK) |